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  1. Now we finally know Shaq's secret way of loosening up before the big games....
  2. Sometime last year, i started a thread called 'shoulder rest question again' coz i was kind of wondering the same question and got quite a lot of replies. At that time, i kind of thought that shoulder rests were a must for some people as at various times over the past couple of years, i had tried holding the violin without a rest and failed to do so. Incidentally, a couple of days before this thread was even started, i tried to play without a rest again and i was pleasantly surprised that i could play reasonably comfortably without a rest! To do this i had to shift the violin slightly to the left though compared to using a rest and it does require me to turn my head to the left a bit as well. Not quite sure what's happening but i'm pretty motivated to experiment with rest-less playing these days. Think i'll keep on doing this until warning signs like a sore neck or shoulder start to appear telling me it's time to back to my trusty rest again
  3. 'Eximious' seems to be an obscure word actually, can't even find it in my Oxford dictionary! Yea, it does mean 'excellent'; the sellers must have used a very old bilingual dictionary to translate i suppose, or just copying from each other cause there's lots of 'eximious' items on ebay. Saw one antique statue of (probably one of the ancient philosophers) listed as 'eximious statue of old geezer'
  4. I was classically trained on violin as well for close to ten years, then a few years ago taught myself acoustic guitar and piano. It's been great being able to play both; i think i'll continue developing these two as they have their own strengths (ie you can't sing along when playing violin) and i love them both to bits! Have to admit that i've been spending much more time with my guitar actually (love fingerpicking!) but also hoping to get my violin skills back in shape.
  5. Thought the name sounded familiar...then remembered i actually got the book few months back when i suddenly felt like playing double stops! Haven't even worked halfway through the first book yet though but hope to pick up again soon....
  6. Currently starting to work on Kreutzer 42...i'm interested to know if the fingerings (the little position numbers on some notes) are the same for all editions of Kreutzer? (i'm using the international ed.; got that one because i like the classic look of the book compared to another with a green cover, though the green one had explanations for the exercises. So much for judging a book by the cover ) Also, are the fingerings there to be followed exactly (meaning they have been arranged as such on purpose to illustrate a certain technique) or do they basically serve as guidelines which we can modify if don't find them suitable?
  7. Forget about the 50%sale thing for those still contemplating Basics from Orpheus; got an e-mail today that says "Unfortunately when your order was placed it was only whilst stocks last. Now the item is out of stock we can only offer it to you at the full price. I apologise for the inconvenience caused and would like to offer you either 10% off the full price or a free poster of your choice (excludes P205)." 10% off is nothing much considering you'll be paying for postage anyway; and my order is now more than a month old!!! All the wait for nothing!! I'll get mine from the shops directly instead of running around in circles next time
  8. On another note...i kind of agree with technique_doc about the books in a way. I've been working with basics during the hols but one thing is i find that there's no way to make sure whether one is doing the exercises right; also because the instructions are descriptive it's kind of open to interpretation---the book would make an excellent companion if working with a teacher though. I'm wondering should i drop the book and find out techniques that i'm comfortable with through my own trial-and-error? (maybe it's just me being too lazy to stick to the exercises...)
  9. The Orpheus music shop (linked to the Strad magazine) is currently having 50% off their Basics and Practice till' the end of the month---though unfortunately they're out of stock at the moment. I had a frustrating time ordering my Basics from them, placed my order two weeks before christmas, phoned up to check (after getting no replies to my e-mail) and was told my order would be shipped in a few days. A week later there was no news yet and i phoned up again and was told there wasn't any stock left!! I cancelled my order through the phone (and they confirmed my order was therefore cancelled) and i practically got my Basics elsewhere. Interesting thing was about 3 weeks later i received an e-mail from them telling me that Basics was out of stock and and asked what i would like to do about my order...as if they had just begun to process my initial order from a month before!! Eeeeeeeek!!! (*pulls hair*) Still waiting for them to order Practise in...at least the price is good....
  10. GMM22: 'Kitchens are often the best playing room in a typical home'-- I had several jam sessions with friends in the kitchen before, and i must say the sound is really nice! --depends on your kitchen though. Now i keep an old guitar in the kitchen that i play while waiting for my stuff to cook
  11. I always wondered about the lines that say ' this violin comes from the estate of some musician/ from an estate sale...'. Are there actually so many estates being liquidated in real life? Also, if something were to come from an estate, wouldn't the potentially valuable stuff [ie, a violin] have been evaluated by some expert beforehand?
  12. Have thought about this thing too-- ie the 'good acoustic environment = bad for practice' question. I've got one of those Yamaha silent violins, and it's really much more fun playing in the 'simulated concert hall' with the added reverb compared to the normal sound without the reverb. Playing in the 'concert hall' mode is really effortless and rather addictive, but then again, i find that things seem a bit dull after switching off the reverb. I don't know how bad is that for practice, but i always try to use my regular violin to get a feel of the 'normal' sound.
  13. Incidentally I just bought the 42 etudes book few days ago ...working on them without a teacher is kind of tough... now you're putting holes in my pocket by telling me there's DVDs available-- will get them when i'm not so broke
  14. Reflecting on the recent thread 'Baroque violin technique' by mignal, is it possible to do away with anything at all to play the violin? ie not using even a single strip of leather or sponge; the ability to be able to play comfortably when being given a violin, no matter what clothes you're wearing. Regarding my first question, some said the people in the past really had short necks, but it can't really be that everyone had such uniformity of necks? How come no one in the past (16th-19thcentury) seemed to have any trouble playing at all without sacrificing comfort? Any historical evidence of shoulder rests or padding material used by those people? My theory is if they struggled to adapt they would have done some modifications to the violin itself, and there would be different violins with different chinrest region contours to suit different players So is this sort of playing achievable by anyone, or just a portion of players? Sorry about the nagging....but i've been pondering this question a lot...keeps me awake at night
  15. Hehe...didn't know there's vanilla mood ppl here! Stumbled upon vanilla mood when i was looking for Mancini's Moon River, and i must say the girls have played a really lovely rendition of it! The 1st violin (Emilee) is no longer in the group though...there's a flautist in her place now though i liked it more when there's two violins. Marie: the Japs love 'kawaii' (cute) stuff...that's what the toys are there for
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